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“Everything you see or hear or experience in any way at all is specific to you,” wrote Douglas Adams in his 1992 novel Mostly Harmless, “you create a universe by perceiving it, so everything in the universe you perceive is specific to you”. When it comes to perception, there is no such thing as objectivity. Everything we see and feel is processed and meaning is applied to the sensory stimulus within peculiar frames. This is how we make sense of “things” around and within us, this is how “meaning” is constructed in individual minds. In certain cases, specifically poetry in this context, consistent linguistic preferences could turn out to be so unorthodox that the outcome is a cryptically arcane explanation of what is considered to be a moderately generic and recognizable event.  At this point, it would be necessary to state that in poetry, feelings and emotions are either “told” or “shown” and the diffuse character of emotions hardens the comprehension of the latter, that being the case, intuition has a major function in the cognitive process of interpretation. Therefore, the reading of poetry involves the alteration, or sometimes the deformation/ reformation of cognitive mechanisms, and their adjustment for principles for which they were not originally “devised”, which bespeaks the philosophy behind all literary works; “the birth of the reader must be at the cost of the death of the author”. Within this framework, this paper attempts to make an analysis of the poetry of the American singer/ songwriter Tori Amos from a poststructuralist point of view, emphasizing in essence that when taken out of musical context, song lyrics do function as poetry posing the sophistication, wit and peculiar style that constitute their literary value.

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Ali Alkan (Turkey) 13916
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